Immerse yourself in the ethereal aesthetic of Fauness…

For fans of the cyborg, ethereal dream pop of Grimes, and the icy, glitchy electronics of labels like NUXXE, Lashes in a Landfill, the latest project from London-based visual artist, guitarist and producer Fauness, is an effervescent glimpse into her weird and wonderful world. In her own words, Fauness makes her music for anyone who has ever felt like an outsider.



Lashes in a Landfill, released on Jam City’s label Earthly, follows 2018’s Toxic Femininity EP – the label’s debut release. Jam City has previously coined the Fauness sound “fairy rock”, a palette with the sugary sweetness of fairies, but with the gritty edge of rock. Where Toxic Femininity spoke of beauty and coming of age, Lashes in a Landfill instead hones in on consumer culture and the detrimental impact on the environment.



For her In Photos, Fauness shares some BTS shots taken during recent shoots, as well as highlighting some of the inspirations behind the videos for tracks like ‘Street Song’, ‘Sixteen’ and ‘Beauty is Like a Thing’.


Here I am with cast members Aya and Mina on set for the ‘Street Song‘ video. While doing an art residency in Italy a couple of years ago, I met a girl whose family live on this huge compound in Kent with two horses and a lake. Luckily she let us shoot there! One of the horses, Coco (seen in the background), was more calm and friendly, so we assumed she’d be the one we could film with. But in the end it was Rocky, the wilder of the two, that agreed to be the star.


This is the shot of the banquet table scene for the ‘Street Song’ video. I found a 70s recipe book called Iced Delights which had all these pastel coloured sorbets displayed on marble. Our production designer Madison Pelley found a marble table cloth and made various jellies that quickly melted in the sun. She also brought a fox skull which she’d found in Nunhead cemetery; it looked so striking with the fruit and various glass and porcelain vessels we’d found.


One from the shoot for my song ‘Sixteen‘. Irina Alexiu, the director and I, were inspired by folk and fairy tales and wanted to include the motif of the poison apple. We came up with the idea of worms which we thought may not work at all on camera, or may look incredible. Madison sourced some from a bait and tackle shop in Bow. As soon as we were done with them we put them outside in a forest with lots of delicious earth. No worms were harmed during the making of the video!


This is the set that I created for the lyric video for my song ‘Beauty is Like a Thing‘. My landlady has this great Victorian rocking horse: an heirloom rescued from her family home. It has real horse hair for a mane and a hand painted dapple coat that was recently restored by a specialist conservator of 19th century rocking horses! The rest of the set is bed sheets, blankets and old magazines I found in a charity shop that had an atmosphere similar to the one I wanted to capture in the video.


Here is some of the cast from the ‘Beauty is Like a Thing’ video, all of which were friends and family. I’m obsessed with cherubs and I really wanted to include a baby in this shoot. The song itself is about childhood, so I was looking to represent the bubbling, uncontainable life of a very young baby, particularly a girl. My friend Carlie had recently had her daughter Reya, so she brought her along.


This image is from the shoot for the cover of my second EP Lashes in a Landfill. We shot it at the house of the photographer Alexandra Boanta, who was the Director of Photography for the ‘Street Song’, ‘Sixteen’ and ‘Beauty is Like a Thing’ videos. She’d just moved into a new place and in this photo you can see the raw naked wooden floors of her studio. The blanket/quilt behind is something I found for really cheap on eBay and that I use for everything. Here you can see the back of the dress I’m wearing, which was made by the artist Hannah Schmutterer.


Another one from the same shoot. With this makeup look (done by makeup artist Mee Kee Song), I wanted to replicate some of the images I’d seen on Instagram: contouring, glossy lips, highlighter etc. I was fascinated with that particular ideal of beauty and the way that it seemed to have something common with religious paintings from the Renaissance: glazes, varnishes, gilding etc. I’m fairly new to Instagram; for the past few years I was so consumed with using every second free from my day job writing songs that I was scared of losing that headspace. I joined the week before my first record came out and I actually have found a way to enjoy it in a healthy way. Although an homage to Instagram makeup, the photo came out looking quite vintage, kind of 70s Cher.


Here is a shot of me on the beach this past summer shooting the video for my song ‘Inanimate Girl‘ with my co-star Estelle. We filmed in Herne Bay on the Kent coast. Neither I nor the director, Anda Teglas, had been to this part of the country before but somehow we knew it would be the perfect location; it did have this magical, ghostly vibe to it. It was a very cold and grey day but that offset the costumes, made by Hannah Schmutterer, in an interesting way.


This photo was taken on film by Aya Al-Shalchi, the director of the video for my song ‘Soon There Will Be No Summer‘. I’m wearing an embroidered jumper made by my friend William Francis Green. Myself and Mari Kuno, the makeup artist, were being super careful not to get any makeup on it.


Another photo by Aya from the same shoot. We filmed in several parks and nature reserves that are local to where I grew up. It was a blindingly bright summer day, which worked perfectly with the song.


Here is a photo from a shoot I did recently with the performance artist Justyna Górowska. Justyna and I have been working together on a project about mythological creatures — water nymphs — living in the present day. The project has many layers, and I am writing some music to go with it. We have a series of letters that we’ve written to each other as two characters we’ve created, a nymph from the Slavic tradition who goes by the name WetMeWild (Justyna) and a nymph from the Greco-Roman tradition called Plexaure (me). We shot this ourselves at her place. She had some flowers that were on the turn so we hung them on the light fixture, which had this beautiful firelight glow.


Another one from the shoot with Justyna. As water nymphs, the characters we’ve created have seen their habitats destroyed by humanity, their underwater homes polluted by all sorts of substances. We made costumes out of plastic bags to illustrate the toxic environment the nymphs are forced to live in. We’ll be premiering the project at Corsica Studios, London, on February 13th for the club/art party Ø.

Lead photo credit: Alexandra Boanta

Fauness’s Lashes In A Landfill EP is out now.